Aaron Cassidy

Fearless forays into choral hinterlands: Exaudi – Exposure

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Newly available this week from the thoroughly ambitious Huddersfield Contemporary Records is Exposure, a collection of choral works performed by contemporary music’s most adventurous cluster of vocalists, Exaudi Vocal Ensemble, directed by James Weeks. As with all of HCR’s releases (the rest of which are well worth exploring – details here), the featured composers are an eclectic mixture, demonstrating well the range of Exaudi’s interests and skills. It is by far the most radical disc of vocal music i’ve encountered in a long time, an exploration that takes real risks both in terms of choice of repertoire as well as the pressures brought to bear on the singers themselves.

Of course, going out on a limb is fraught with dangers, and there are pieces on this disc that work far better in theory than practice. Not many, thankfully, but Joanna Bailie‘s three-part Harmonizing—seeking to tease out pitched material from field recordings and meld it into corresponding vocal parts—lacks conviction in the attempted correlation, and the method (somewhat hackneyed in any case) only seems to emphasise its subjectivity and arbitrariness, narrowing the scope of these ‘artificial environments’. The second of the three succeeds best, but the other two are forced and boring respectively. Bryn Harrison‘s eight voices suffers in similar fashion, the twists of its repeating material (rather like a convoluted isorhythm) sound marvellous as an idea, but the piece displays minimal result from maximum effort, rapidly losing its ability to command attention. Here, though, Exaudi’s deeply impressive control and consistency frequently distract one from the work’s shortcomings. Read more

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Mixtape #25 : Best Albums of 2012

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HAPPY NEW YEAR TO YOU ALL!

Today marks 5:4‘s fifth anniversary, and so i’d like to take this opportunity to thank all of you who regularly read, share and respond to the articles and music explored here. Since 2008, the blog has grown from being an occasional hobby (reading the earliest articles, that fact is rather painfully obvious) to something that now receives significantly more time and attention. i very much hope that 5:4 can grow and become even more interesting and useful in the next five years; all comments, criticisms, suggestions and other feedback is always very warmly encouraged.

But to return to the present, and to continue our annual tradition, here is a new mixtape featuring one track from each of the forty entries on my Best Albums of the Year list. The mix includes more extreme dynamic variety than in previous years, so while i’ve done a little to mitigate that, be warned that at times the music veers between extremely soft and very loud indeed. As ever, if you like what you hear in the mix, please support the artists and buy the music; links are included on the last two days’ posts.

i’ve remarked in the past on the provisional nature of all ‘Best of’ lists, and so to keep things current, i’ve updated the summaries of the Best Albums/EPs of the Years, to reflect further listening than had been possible at the time; the revised lists can be found under The Lists on the main menu.

The mixtape lasts a little under 3½ hours; here’s the tracklisting in full: Read more

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Best Albums of 2012 (Part 2)

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* Please note this list has how been superseded by the one on the Best Albums of the Years page *

The lists reduce the vastness into controllable sizes, into the size of things that can fit into our mind, where they can expand again to the size of everything. The list is the way of fitting everything in one place at one time, so that we can take it with us, so that we can fit it all inside a microchip, a chip we can then fit inside our soul. … The list is a code for everything we are, the list is a diagram, sometimes extremely slight and incomplete, sometimes unbelievably deep and complete, of eternity.
(Paul Morley, Words and Music)

Here we go, then, with the absolute pinnacle of this year’s albums, every one of them essential listening. Read more

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Giving voice to the indescribable: Aaron Cassidy – The Crutch of Memory

Posted on by 5:4 in CD/Digital releases, Featured Artists | 7 Comments

There are times when a composer wins you over instantly, the cogency of their arguments captured in a transparent marriage of sound and idea that’s instantly familiar and welcoming. This has emphatically not been my experience with the music of Aaron Cassidy. Over the last few years, i’ve oscillated around Cassidy’s music with the regularity of a comet, never quite pulled into orbit (or should that be a collision?), but constantly drawn back nonetheless. With the release, a few months ago, of the first CD devoted to his music, i figured it was time to try to pin down my thoughts about what Aaron Cassidy is up to. The CD, The Crutch of Memory, focuses on works for one or two players, encompassing both Cassidy’s earliest music as well as relatively recent pieces, the latest of which is around three years old. Both the spread of output as well as the restricted forces involved make this a superb primer for Cassidy’s work.

To begin to understand his compositional approach, take a look at the score excerpt below, taken from Richard Barrett’s 1988 work for trombone and percussion, EARTH (click for high-res).

At this point, towards the end of the piece, the trombone’s music abruptly bifurcates into two staves, the upper showing the slide positions, the lower showing the harmonics being sounded. This fundamentally undermines the way a trombonist is used to playing, where these two parameters imply each other within conventional notation; yet by ‘decoupling’ those parameters, and destroying their traditional connection, Barrett creates a remarkable effect—which, in context, is both profoundly moving and deeply distressing—that could not have been achieved any other way.
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